That particular item was just one of many, and I really can't say who it was. But we had directives from time to time. I remember how that transparent spinner started out. Somebody thought it would be neat to have a light behind it, and I talked them out of that, and we painted it with opaque silver, because they were ready for production. It would have been really crazy. I think that was brought about by the fact that somebody was impressed with the Tucker or a Cyclops eye -- a single headlight on a locomotive.
And I think that the woman he's talking about worked for Tucker doing the interiors.It sure was, right. We had done work on a symbolic '47 and, in turn, had a grille on the back end of it. I had a lot of sketches where the glass curved around in the back. So we built a wood model of this early pre-'47 prototype, which had some of the characteristics of the production car, albeit they were somewhat different. It didn't have a fender, as such, on the rear end. It had detail around the back, and it had a grille across the back, and the car, actually, was being considered for a rear engine automobile.
It was Gordon Buehrig or Exner who hired Audrey Moore [Hodges]. She was single at the time.
Lot of interesting stories, like how he and a few others designed what would become the 49 Ford while all still working for Studebaker, and he apparently worked with many of the top names in the automotive industry.
